Candy Clark

Unusual, dynamic model-turned-actress who followed her film debut in John Huston's "Fat City" (1972) with a memorable, Oscar-nominated performance in George Lucas's seminal coming-of-age film, "Americ...
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Fans of The CW's newest hit show, Arrow, are familiar with the awe-inspiring physical specimen that is Stephen Amell, but for those who don't dedicate an hour of their Wednesdays to watching him take down white collar criminals each week, stop what you're doing and watch this right now:
That scene is from the Arrow pilot, and no, that is not a stunt man. That is in fact Amell performing the nearly-impossible-to-defeat salmon ladder himself. Now that you understand how fit he is, also know that he can act. Extremely well. That perfect balance of acting ability and physical fitness makes him perfect for many roles, both in TV and movies. And now that he's made a name for himself as Oliver Queen on the highly successful CW action drama, he's making plans to take on other projects during Arrow's hiatus, one role in particular.
During a Facebook Q&amp;A, Amell posted a video addressing a fan question about whether or not he would star in the Fifty Shades of Grey movie adaptation. "I get questions about Christian Grey all the time. That project is a long way off," Amell says. "I know this because I had a meeting about it. Long way off. I mean, not that long, but not close. I wouldn’t call it long, but I wouldn’t call it close."
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The question of who would portray the lead role in the adaptation of E L James' erotic romance novel has been a hot topic ever since Universal Pictures and Focus Features secured the rights to the trilogy in March of 2012. While Amell does have the talent to star in a big-budget blockbuster, as well as the desire to do a movie during the Arrow hiatus, we beg you, Stephen: don't take this role.
Yes, the lead role in a highly-anticipated movie would certainly help you gain more universal fame than what Arrow has already given you, but this is not the right movie for you. The "mommy porn" is beneath you. It is purely eye-candy for women who don't care about a well-written plot or defined characters.
You've proven that you're better than this on your show, where Oliver Queen has never just been something nice to look at. You're more than just a piece of hot meat: you have the acting ability to show depth of character and real emotion. The way you play 3 different versions of the same person on Arrow shows off your talent better than we could attempt to explain (the rich party boy struggling to survive for five years marooned on an island, the hooded vigilante killer that party boy has become in the present after returning home, and the facade that vigilante presents to his family and friends so they don't know his secret life).
We want to see you succeed and take on a lead role in a big blockbuster movie, but this is not the one for you. Please, we beg of you: pass on this movie. Look elsewhere. We promise you can do better.
Follow Sydney on Twitter: @SydneyBucksbaum
[Photo Credit: Frederick M. Brown/Getty Images]
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Hey, geeks have needs too!
That's something that obviously many movie and TV producers have recognized, hence the oddly high number of sci-fi sex scenes throughout pop culture. Think your standard porn site has a lot of different niche categories? With sci-fi we're talking alien-on-human sex, psychic sex, android sex, android-on-cyborg sex, zero-gravity sex, hair-entangling sex, Barbarella sex, and whatever it is that David Bowie is doing to Candy Clark at any given time in The Man Who Fell to Earth.
Check out 15 of our absolute favorite sci-fi sex scenes in the gallery below:
GALLERY: 15 Sci-Fi Sex Scenes
Follow Christian Blauvelt on Twitter @Ctblauvelt
[Photo Credit: United Artists]
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In our quest to bring you the best TV content, sometimes we have to look... backwards. That's why we have Thursday TV Throwback, wherein each week our staff of pop culture enthusiasts will be tasked with bringing back some of the best television clips that have been forgotten by time, space and the general zeitgeist.
This week, we're celebrating one of our favorite topics: Drunkenness! With St. Patrick's Day right around the corner, we're bringing back some of TV's most memorable benders. From the gleeful to the downright tragic, join us in reliving the days of drunken past.
Brian Moylan: "Uncle Ned Has a Problem" As a young boy I didn't even know what an alcoholic was until watching an episode of Family Ties where Uncle Ned and his drinking problem come to visit. Suddenly so much about my Irish family suddenly made sense. Here is the scene where Elyce Keaton confronts her drunk brother about his addiction, but even better is when a jonesing Uncle Ned drinks a bottle of vanilla extract because he needs a fix. Oh, and did I forget to mention that Ned is Tom Freakin' Hanks. That's way cooler in retrospect than back then, when I didn't know what an alcoholic or a Tom Hanks was.
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Kate Ward: "Vitameatavegamin" TV's best drunk moment is one of its firsts. On a 1952 episode of I Love Lucy, the titular character titillated viewers when she took a job as the pitch girl for Vitameatavegamin, a new tonic with a needlessly long name and dangerous main ingredient: alcohol. After several takes, and several swigs of Vitameatavegamin, Lucy became a bit too happy and peppy for her own good. The TV moment — which still ranks amongst the funniest ever to hit the small screen, is so tasty — it's just like candy.
Matt Patches: "Mork Goes Baserb" Mork and Mindy's high concept — the sitcom antics of a twentysomething and her extraterrestrial roommate — served one purpose: to function as a platform for Robin Williams' physical comedy. No offense, Pam Dawber: the show needed you too. But in the end, it was all about Williams' quirky tendencies and spastic reactions. The show hit an energy high when Mork got around to getting drunk for the first time. Or, "baserb," as they say on Ork. After taking one too many sips of Ginger Ale, Mork launches into an even bigger frenzy than usual, a cacophony of sounds, gestures, and vague pop culture references.
Shaunna Murphy: "Randy's DUI" Randy Marsh is South Park's number one drunk, so it's surprising that it took him 9 whole seasons to garner his first DUI. Still, the wait was well worth it. "What seems to be the officer, problem?" he says as one of South Park's finest pulls him over for a sobriety test. Maybe this was supposed to teach us about the dangers of drinking and driving, but all it did for me was reinforce the fact that touching your nose is really hard.
Michael Arbeiter: "All in the Family – Archie and Mike stuck in the freezer" One particularly unforgettable episode of All in the Family sees Archie and Mike stuck in a meat locker with nothing but each other’s company and a bottle of hooch. What could have just been a joke-filled, low budget 30 minutes actually amounted to one of the most powerful scenes in the show’s history: Archie’s drunken confessions to Mike about the tyrannies that his own miserable, bigoted, abusive father imparted upon him when he was a boy. The revelation gave Mike and audiences alike a new empathy for Archie, and a refreshed understanding of just how much damage hate can do.
Abbey Stone: "Buffy Want Beer" Who doesn't love teen drinking? Especially when the teen is wise-beyond-her-years vampire slayer Buffy Summers, and the episode (in which drinking turns Buffy into a beer-crazed Neanderthal) is really a club-over-the-head metaphor for the dangers of alcohol. But really, when Buffy want beer, is there anything you can do about it? Buffy get what Buffy want.
Jean Bentley: "Donna Martin's Big Mistake" Everyone has that one friend who can't handle her booze. Unfortunately for Donna Martin, she was that friend when the Beverly Hills, 90210 gang sipped some champagne in their limo on the way to prom (as you do). Double unfortunately (is that a thing?), once her pals realized she was wasted and tried to sneak her out, she stumbled to the ground in front of a teacher and got in major trouble. Yes, this is why you occasionally feel inspired to chant "Donna Martin Graduates!" at completely inappropriate times (oh, just me?). To be fair, it kind of wasn't Donna's fault. Her boyfriend David Silver's dad gave her the champagne, not knowing she was a total goody-goody lightweight. That's what you get for trying to be the cool parent, Mel!
Christian Blauvelt: "The Comandante Song" Being a lancer in the Royal Spanish army in 1820s California is difficult. There’s oppressive heat and even more oppressive commandantes. The people hate you because you tax them at gunpoint. And at every turn there’s that rascally Zorro, the people’s friend, undermining you and carving Z’s in the seat of each new pair of trousers you buy. No wonder, then, you turn to the bottle to solve your problems. Just don’t get carried away like Sgt. Garcia (Henry Calvin) did in the 1957 episode “Zorro’s Flight Into Terror.” It’s one thing if you want to drunkenly mock your commandante in song… just make certain he’s not within earshot.
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Kelsea Stahler: "Ross and Rachel Meet Vegas" While I've never accidentally married my best friend/ex boyfriend while stumbling around with a permanent marker mustache on my face, this classic Friends moment is one of my favorite from the series because now that I'm old enough to drink, I know just how accurate it is. (Sorry friends, I know I've tried to make that "Hit me" gag work during actual drinking times. Sometimes I love TV to a fault, it seems.)
Sydney Bucksbaum: "The Hangover, Part IV" When Clark and Lois threw a joint bachelor/bachelorette party in Season 10 of Smallville before their epic wedding, they didn't expect a Hangover-like situation the morning after. But thanks to the gift of an enchanted bottle of champagne, everyone in the Justice League blacked out and had to figure out what happened the night before (especially who got married). After piecing the night together (congratulations on your wedding, Chloe Sullivan/Watchtower and Oliver Queen/Green Arrow!), Lois found the tape that they had taken turns filming the night before and we all got to see just how a drunk Superman would act. (Spoiler alert: he still saved the day!)
[PHOTO CREDIT: NBC]
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The only thing more feared on Valentine's Day than receiving a Whitman's sampler from your significant other which they clearly picked up from CVS on the way home, is being on the receiving end of of some truly awful pick-up lines from some creepy lonely heart. While some opt to say sweet nothings on candy hearts, some brave souls often test the waters with lines that can range from cheesy and embarrassing to sexy and flattering.
That's because pick-up lines are, in the end, all about the pick-up artist. Would Ryan Gosling's cocky come-ons in Crazy Stupid Love have worked if they hadn't been coming out of that mug? How about Meg Ryan's request to "Take me to bed or lose me forever" in Top Gun?
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But, even if you don't have Gosling-like looks (who among us mere mortals does?) it's all about the confidence. Case in point: Joey Tribbiani's (Matt LeBlanc) patented "How YOU doin'?" on Friends. The line isn't much, but it's all in the delivery. So, don't fear the pick-up lines on Valentine's Day, just take a cue from some of the best ones from television and movies. (And avoid the others we list at all costs). Check out our Best and Worst Pop Culture come-ons and pick-up lines below. Oh, and, how you doin'?
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Best:
- "How YOU doin'?" Joey (Matt LeBlanc) on Friends
-"You should be kissed and often, and by someone who knows how." - Rhett Butler (Clark Gable) in Gone with the Wind
- “You make me want to be a better man.” - Melvin (Jack Nicholson) in As Good As It Gets
- "Haaaaave you met me?" Barney (Neil Patrick Harris) on How I Met Your Mother
- "I like you, very much. Just as you are."- Mark Darcy (Colin Firth) in Bridget Jones' Diary
- "Here's looking at you, kid" - Rick (Humphrey Bogart) in Casablanca
- "Mind if I get drunk with you?" - Dennis (Clark Gable) in Red Dust
Any of the following by Jacob (Ryan Gosling) in Crazy Stupid Love:
Worst:
- "Suck me, beautiful" - Oz (Chris Klein) in American Pie
- "You should do something with that sourpuss, you're very beautiful" - Pete (Vincent Kartheiser) on Mad Men
- "My name is George. I'm unemployed, and I live with my parents." - George (Jason Alexander) on Seinfeld
- "I would like to extend to you an invitation to the pants party.” - Brick (Steve Carell) in Anchorman
- "Girl, you're more precious than Precious."- Tom (Aziz Ansari) in Parks and Recreation
- "Wanna play a game? You can be Little Red Riding Hood and I’ll be the Big Bad Wolf." - Jacob (Taylor Lautner) in Twilight
So bad and INCREDIBLY NSFW we can't even write it:
Proceed With Caution:
“Your eyes are amazing, do you know that? You should never shut them, not even at night.” - Paul (Olivier Martinez) in Unfaithful
[Photo credit: NBC]

It's Hollywood week, and we're supposed to be floating on little clouds of Nicki Minaj's cotton candy hair and Mariah Carey's never-ending collection of butterfly accessories.We're supposed to be in heaven. But no. It's not that simple. American Idol has to be fresh and new, so they have to change all the rules of Hollywood week. What they don't seem to understand is they they just drew a mustache on the Mona Lisa of reality singing competition challenges.
Nigel Lythgoe waltzes out to tell a surprisingly husky group of competitors that the rules have changed this year. Rule 1: See how there are only men in this room? That's the first change. Just think of it as a middle school dance. Hollywood Week 1 is the wall where all the boys are standing, the one with the basketball scoreboard hovering above their heads. Hollywood Week 2 is the opposite wall, with all the girls twirling their hair while lingering close to the emergency exit. It's unnecessary, and it severely disrupts the usual ebb and flow of the dance of Hollywood week drama.
Rule 2: Producers choose the groups, no ifs, ands, or buts. Sure, in theory this means we'll get multitudes of groups butting heads rather than just the few that are comprised of shy guys, stragglers, and raging ego-maniacs, but in practice, it means continuous crimes against music, endless mild disagreement, and so much distraction that even some of the best singers in the competition are thrown off their game. It's a mess, and not the great kind. The worst result may be that terrible performances are rewarded with a second chance time and again this episode, perhaps as an acknowledgement that this new process was bad for everyone, but first, the judges did their best to thin out the herd in the initial sudden death speed round.
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Most important to note at this point in the competition are those folks who lost it all in a matter of seconds. First up was Karl Skinner, who we fell in love with in Oklahoma City only to let go too soon in a fit of Coca-Cola-driven fervor. Unfortunately, Karl shows himself to be all growl and no true vocals, and he's sent home along with the group of strange rapscallions (including a man who drops a paper heart with all the ceremony of Criss Angel releasing a dove while he delivers his emo audition). He's followed by the singing doctor a.k.a. Dr. Calvin Peters, who I chastised for leaving behind his job helping to heal burn victims to pursue fame when we met him back in Charlotte. Next comes cutie-patootie firefighter Dustin Watts who was always lovable, but rather generic in this mixed bag of contestants.
Next comes the challenge. Cortez Shaw shows up with too much confidence for his own good, attempting to belt out the Whitney Houston classic "I Will Always Love You." And it's not good. His off-key, cocky performance starts a debate among the judges when Mariah inexplicably likes him (girl, is your falsetto range affecting your brain?). Nicki actually says she is "disgusted" and Randy says the only thing the kid needed to hear: "You ain't Whitney." Yet somehow, this cocky little smart-ass gets another shot at the big time. Sure, he sang a much tougher song than anyone else, but he clearly knows nothing about his vocal ability and that spells elimination.
The fake-outs continue as Nicki carries out a few jokes of her own. Her first victim is Bryant Tadeo, who she gets to admit he's tired so she can tell him "It's good that your tired because you're going to have a lot of time to sleep now that we're sending you home." But it's all a cruel ruse, Bryant's just dealing with a little emotional trauma now. No big deal. At least Bryant got a lesson in being grateful and excited about Idol. Oh and also, there's the part where he gets to stay. That's not bad either.
Lastly, we watch Brian Rittenberry, whose adorable wife survived cancer and then spent the second half of his audition sweetly fawning over Keith Urban. He attempts to country-fy Brian McKnight's "Back at One," and while he's still got strength and sweetness, it's clear the rough quality of his voice is serving to camouflage the lack of vocal ability. The lovable lug is sent home, and it's not pleasant to watch his dreams crash, the show is about singing and it was the right thing to do to let him go. It's a skill our judges only seem to have half of the time as auditions continue.
Almost as suddenly as it rehearsals began (because there was no time devoted to the cruel, yet fascinating process of self-selecting groups), the performances were underway, undercutting the vicious footage we've come to expect. It's probably better for our souls this way, but we were okay with the consequences of verbal sparring and bullys bested by their more talented teammates. Luckily, not everything has changed. We still get the requisite bathroom rehearsal. Unnecessary beat-boxing (unless you're Justin Timberlake or Blake Lewis, beat-boxers need not apply, but oh boy do they ever). We're also treated to an ego-crushing wake-up reel of the contestants before they've prettied themselves. Well, everyone except for Johnny Keyser, who apparently rolls out of bed with perfectly feathered hair and a cavalier attitude. And while even I'm jealous of his charmed life, full of eyes so sparkly they blind the sun and hair so naturally perfect it should be in a museum, his wake-up routine isn't exactly the highlight of Hollywood week. Then again, I'm not really sure what was.
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First group of the night is Mathheads, comprised of Matenee Treco, Matheus Fernandes, Gabe Brown, and Nick Bodington. After milking Matheus's tale of shortness for all it's worth (even having the kid lay on his bed so he could put his hopes out into the ether, "God, please help me. I've been waiting so long for this," even though he just had a fairly sizable shot on Ryan Murphy's The Glee Project. Matenee's got a case of the crazy eyes, Gabe has an issue or two with really singing out when he's not using his gutteral growl, Matheus rocks out like it's still 1984 and Van Halen is the pinnacle of musical fame, and Nick is simply so overshadowed by his cohorts that I couldn't remember a distinguishing factor about him if I tried. "Somebody to Love" by Queen earns them all another shot at the top 24, but I'm still wary of Matheus and his seemingly out of control ego.
Johnny Keyser, his pretty face, and his group take on a song that he didn't actually know, because he doesn't listen to human music, just the sounds of a million angels singing directly into his ear. "Reach Out (I'll Be There)" may be a classic Four Tops song that most fans of aural joy have heard at least once in their lives, provides a problem for Johnny in that it is a total blind spot. It means a complete jumble of misguided voices for Johnny's group.Johnny forgets his lyrics, but manages to keep on humming. Kareen Clark has the words down, but he's flatter than a piece of plywood. The harmonies are awful. Despite the fact that Aussie Keith can't believe that he knows a song that all-American kid Johnny doesn't, Johnny is sent on through while the other move on. Of course they keep the hot guy. This is Hollywood after all. What's Tinseltown without a few attractive people to keep us interested? (A town full of talented people who were judged fairly? Who wants that.)
And the disappoint keeps on keeping on. Curtis Finch and his unbelievable gospel/R&amp;B voice have made him one of the voices to beat in the competition, but as it turns out, he's kind of a jerk. When his assigned teammate, scrawny little pop-punk-loving Charlie, gets sick, Curtis sees it as an opportunity to do better for himself, with the kid out of the way. Their third teammate does everything he can to help Charlie, even admitting it to the camera while Curtis stood aside expressionless, totally aware that taking credit for helping Charlie would be unwise after the truth had been caught on camera. When the trio performs, however, you'd never know there was an issue among them, but Curtis's capable runs are tinged with the knowledge that he would have let that poor kid hang out to dry if he needed to. Apparently, he didn't get the memo about everything he says being taped and presented to America so that they might one day choose to vote (or more likely not vote) for the guy who was too ambitious to help a guy in need. Naturally, the judges don't know about his backstage antics and they're wowed, sending all three through while Mariah inflated Curtis' ego by telling him she's been waiting all day to hear him sing. With a victory on his hands, Curtis is all team spirit suddenly, but I can't imagine that would be the case if the song had put him in danger. If only she wasn't right about his talent. Selfish or not, the guy can destroy any song he touches.
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Two more relatively boring groups squeak on by, giving speech-impediment sufferer Micah Johnson and his teammates Vincent Powell, Marvin Calderon, and David Willis a ticket to the next round. Also raking in the luck was sign language teacher Nate Tao's group of leather-jacket-lovers, who all went easily to the next round, even Cortez, despite his tendency to hop into off-key territory during "Some Kind of Wonderful." If Cortez keeps getting through, we're going to have the male equivalent of Karen Rodriguez on our hands again.
While we wade through two groups who can't even muster up a fraction of the lyrics to either "What Makes You Beautiful" (only the most infection pop song courtesy of the biggest boy band on the planet, One Direction) or any number of other well-known songs during this, a singing competition presumably filled with folks so set on singing they might want to listen to artists other than themselves. Two groups of lyric-losers come through and only Paul Jolley and Will White survive.
B-Side or the group formerly known as Three Men and a Baby (get it, because that one kid is 15 and the rest of the dudes are strapping men!), try a little Maroon 5 and Keith comes to his fellow reality judge Adam Levine's defense: "Adam Levin isn't dead yet, but he's alredy rolling over in his grave." Morbid, Urban. Gupreet Singh Sarin, Nicki's favorite "Turbanator" from New York, leads the group, many of whom forget the lyrics completely while Sarin at least fills his empty lyrical space with some scatting. The sounds are simply cacophonic and even though Gupreet does his best to salvage his flub, he's not much stronger than he was during auditions when Nicki had to beg her fellow judges to give him a shot. Yet somehow, the judges deliberate and come out with the idea that these guys, who blew their group audition, deserve another chance. Even Gupreet looks confused as Nicki exclaims her joy over her "baby group" living to see another day of competition. She says she pushes them through because "we are humans and we forget the lyrics, but it's about what you do in those moments that makes you a star," and we hear you, Nicki, but these guys don't seem to be the ones to use that card up on. Hopefully, I'm wrong and they heed Randy's command to simply "be better next time." Some act of God spared this undeserving group, but hopefully it will lead to somewhat of a small miracle when it comes time for solo Hollywood auditions tomorrow.
Suddenly, some glaring choice (that occurred in the last paragraph and surprised all of us) makes the judges realize they have to get tough and soon. Luckily, they are served up a nice hot plate of terrible singing to get them in the cutting mood. Last Minute, a group that included Jason Jones, Dan Wood, Jessie Lawrence, and some guy the producers didn't see a need to call by name forget their words and quite possibly how to sing, forcing Randy to burst, "How do I even judge this?" He doesn't really have to, and send the whole lot home.
Carrying on with the snooze train is a group organized by Ryan Conner Smith, who gets the singers to perform a cappella. The judges hate the lack of musical accompaniment, and Ryan's innovation (and lack of vocal prowess) is what sends him home while the rest of his group stays. Perhaps he should have heeded his vocal coach (and Katharine McPhee's mom) when she cast a disapproving look at the mention of an a cappella audition.
Burnell Taylor from Baton Rouge is known as the guy who made Mariah cry during auditions, but during Hollywood week, his group's "Some Kind of Wonderful" almost made her cry for another reason. Burnell doesn't know the words, and his vocals are suffering. Yet memories of his past performances apparently keep him alive, during the round that is supposed to be judged at face value and he and his teammate Tony Foster Jr. are safe while their cohorts pack up.
Finally, as the end of the episode approaches, the drama begins to emerge. Super 55, socially-challenged stutterer Lazaro Arbos' group is having issues. And if you ask Josh Stevens, it's because they're all spending too much time trying to fix Lazaro because he's "not from around here" and his stutter makes it hard to communicate. While Lazaro is concerned that his teammates take his speech issue as a symptom of deficient mental ability, Josh is the one showing off just how stupid he can be. Who's the one Nicki loves so much, she made a heart with her hands in his general direction during the sudden death round? Oh, Lazaro. That's right. Pipe down, Joshie. While Josh worries some more, Ryan Seacrest's voice-over hopes the group doesn't become a statistic (which is impossible because they're by default already a statistic. This isn't an STD prevention PSA. "Becoming a statistic" doesn't mean bad things happen to you.) And the only people in danger of statistichood turned out to be Josh and his buddy in bullying, Scott Fleenor, who plays the flat singer to Josh's boring 1950s sock-hop attendee. Lazaro and his teammate Christian Lopez (With the dreamy blue eyes and sultry, seductive singing voice) are the only ones worth watching, and when the voting is done, the judges only leave the talented ones standing. Scott simply sulks, but Josh takes this golden opportunity to right the wrongs he's committed since group rehearsals started to be a total ass. "If anything, you should be going on. We spent so much time perfecting what you needed to be doing," was all he could say through his tears to Lazaro before he parted ways with the talented young lad.
But Idol had more than one group tailor-made for total implosion. Country Queen pitted two eccentric young men against two strapping young country singers, one of whom has a serious issue with men who don't chop down trees or stomp around in muddy boots. JDA and Joel Wayman drive Army man Trevor Blakney nutty with their focus on showmanship, but his real problem seems to be the various ways in which both men are less attached to traditional expressions of gender. While they're completely willing to listen to his needs as a member of the group, Trevor is convinced his teammates are ignoring him and he flatout refuses to participate in the lyrical workshop that he whined so desperately for, complaining that he didn't want to "put on dresses and put glitter on." And his intolerance of people unlike himself (something producers were counting on) costs him his pride and his spot in the competition. He forgets his lyrics, while his glitter-wearing teammate JDA focuses on vocals and wins the judges approval. Everyone in the group, including so-so country singer Lee Pritchard make it through while Trevor heads home to pout about never having lost anything before. Well, my dear boy, the thing about winning is that it doesn't happen when you sit on your rear end complaining for an entire round of a cutthroat competition.
And just when it seems the judges' vow to be tougher isn't quite as strong as they made it sound, Cystic Fibrosis afflicted 15-year-old Kayden Stephenson comes to the stage with his group, which includes a mature and much more polished David Leathers Jr. (he was eliminated at the top 24 cut off last season), is up with "For the Longest Time." Idol placed all four members of DSDK together because, oh aren't they cute, they're all the youngest in the competition. Each of the youngsters delivers at the very least descent solos until it comes time for Kayden's turn. A quick shot of Mariah while Kayden flounders with his sweet, child's voice on stage makes the diva look like she's just seen something horrific. This sweet little survivor is crashing and burning before her eyes and she can't handle the thought of what the judges are going to have to tell him. Luckily, he's not sent home alone, alone Sanni M'Mairura and David make it through, but it's still heartbreaking to watch little Kayden trudge on home. While his story was awe-inspiring, it was clear during his first audition that his voice wasn't strong enough for the competition, yet the show couldn't resist sending him through and pumping him for failure. He should never have made it to the televised round of auditions; it was clear he wasn't strong enough. Yet in the end, Nicki has to convince Mariah (and any backstory-clinging viewers) that sending him home was the right thing to do. Yes, it was hard watching the panel send home a cancer survivor with an amputated leg after he wasn't good enough for the competition, but it's less difficult than watching him step even closer to his dream before it's taken away. Rip the bandaid off early, or we're left feeling horrible for a young kid who was advanced unfairly because his story looked great as an episode endcap.
Finally, the night ends in tears when Frankie Ford, who won us over with his story about singing for change on the subway in New York, lets the pressures of a contentious group mar his ability to use his God-given voice. Placed in a group with powerhouse Charles Allen, unstoppable personality Papa Peachez, and constant surprise Adam Sanders, Frankie is faced with a smorgasbord of musical variety. He could, as the least experienced member of the group, use it to learn. But instead, he spends the whole rehearsal period complaining that they don't listen to him, driving him to tears just minutes before it's time to perform. Oz, as they decide to call themselves, serves up a performance that's the vocal equivalent of the junk drawer. Nothing fits together, however great the value in each individual piece. Peachez is weak, clearly shaken up by the group dynamic. Adam does okay, but ultimately rescues his performance with a suggestive joke. And Charles is the only solid performer, pulling out a few high notes and impressive runs. Frankie, however, cries on stage, forgets his lyrics, and eventually gives up mid-phrase. Even if his story is admirable and moves us and his voice is a good one, this is not the behavior or attitude of someone who can win Idol. He's cut loose while Peachez earns another chance thanks to Nicki's incessant begging, but that's not the last we hear of the supposedly sweet singer from New York. He bursts out of auditions, barreling away from his friends and yelling about how he'll come back and win, but it's his line "They will not deny me" that is of concern. Frankie, you're a good singer, but no one, not even American Idol owes you a win or an instant ticket to fame. He can come back again, but unless he fixes that attitude, it's going to be the same story all over again.
With all that surprisingly lackluster nonsense out of the way, Thursday will deliver the solo Hollywood round, also known as the place contestants start to have their big moments (you know, those performances that seem to make the sky open up just so angels can come down and flutter around the singer on the stage?). There will be a bit of drama here and there, but what we're looking for isn't a fight or a hissy fit. We're looking for some kind of wonderful.
Of course, it will be strange to go through this process once more with the ladies next week. Hopefully, they don't leave us with such ardent fits of boredom as the menfolk.
Follow Kelsea on Twitter @KelseaStahler
[Photo Credit: Fox]
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We’ve been waiting all season for the introduction of Jessica De Gouw’s Helena Bertinelli/The Huntress on Arrow, as she's the female version of Stephen Amell’s Oliver Queen/Arrow. Last night’s “Muse of Fire” delivered our first look at the mob boss’s daughter, and the final product was a little underwhelming. But before you raise your voice in disagreement, here me out. Let’s back up.
When we last saw our hooded vigilante, he was getting some much needed mother/son bonding time at a diner, and while he still has some trouble remembering family commitments it seems like he got through to his mom. Moira explained to Thea that they really need to cut Oliver some slack after his five years away. The time on the island changed him, and maybe that’s not such a bad thing. I mean, think about it: five years is a long time, and if you haven’t changed in that time, no matter where you are or what you’re doing, something is wrong. We all change and (hopefully) grow as time goes on. So Oliver was marooned on an island for five years… that’s a bit different than living in society, going to school or work, and interacting with your family and friends, but life events – no matter how normal or bizarre – shape our character. It’s time for Oliver’s family to understand that after five years of separation, Oliver isn’t the same person he used to be.
And let’s not forget, of course Moira is going to defend Oliver’s habit of keeping secrets seeing as how she’s been plotting in secret with “The Well Dressed Man,” who finally was identified last night as... Tommy’s father! Who else totally saw that coming the moment his father appeared on screen wearing a fencing mask? That was a nice way to tie in this mysterious character to the already established Arrow story. Especially with the introduction of the Bertinelli mob group, it’s time to focus the scope of the Arrow universe. We don’t want too big of a web of characters because that is when plot points start to fall through and things get confusing.
Speaking of the Bertinelli mob, Oliver finds himself working for the mob boss in order to find out who is attacking his colleagues, because his mother got caught in the crossfire. After taking Bertinelli’s daughter Helena out for dinner to discuss a contract, Oliver finds himself with a big ol’ crush on Helena. She is the first person to ask him if he ever misses the island, and understands that the island changed him that no one else gets. He seems relieved to finally be in the company of someone who he doesn’t have to lie to – except about his secret vigilante mission. Well, that is, until he runs into the Huntress and pulls off her motorcycle helmet, revealing Helena! Turns out, Helena is even more perfect for him than he previously thought. They fight their way out of a sticky situation together, and Helena utters a familiar line after breaking someone’s neck, “I had no choice, no one can know my secret.” You could see it all over Oliver’s face: this girl is ME. He was one part shocked, two parts impressed, and a million parts smitten. He was a goner, crushing hardcore, one candy heart away from doodling Mr. Helena Bertinelli all over his notebook. The two vigilantes end the episode in a liplock, both secrets exposed to the other, all walls broken down.
But while the story worked for me, De Gouw left a lot to be desired.The chemistry between her and Amell is lacking (though I have to say, he was pulling more than his own weight this week, really working his emotions as hard as he could. Plus, chasing down that motorcycle? The guy can RUN). It felt underdeveloped, and forced. I didn’t feel for Helena. Maybe the story was too rushed, and they tried to fit too much into one episode. Or maybe De Gouw wasn’t the right choice for Helena. We’ll just have to wait and see how she pans out next week.
Finally, Tommy was cut off from his family’s money and went on a date with Laurel. When Tommy broke the news to Oliver in a move that was both mature and territorial, Oliver let Tommy see his true self for one fleeting moment. Gone was his fake smile, and out came the deadly threat, “If you hurt her I will snap your neck.” There was a shocked silence, before Oliver’s fake smile was back and Tommy was convinced it was a joke. Little does he know that he just saw who his “best friend” really was, and that he really does have to worry about Oliver snapping his neck...
Follow Sydney on Twitter @SydneyBucksbaum
[Photo Credit: Jack Rowand/The CW]
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Good tidings, good cheer, good will towards men... Christmas has a lot of positives attached to it. A lot of noble qualities, charitable endeavors, attitudes of self-betterment. Christmas is generally when people set aside their vices to opt for a more giving, warm, and down-to-Earth outlook on life. But it's also a time for proving that you are way better than your stupid neighbors.
Yes, the true meaning behind the Christmas season is showmanship: amping up your roof, lawn, and living room with as many elaborate holiday decorations as possible to put all surrounding heathens to shame. Christmas movies throughout the decades have shown us some of the most outlandish pieces of seasonal tribute imaginable — dancing Santas, functioning sleighs, endangered breeds of Evergreen trees. All perfect fodder for channeling the noel spirit... despite demanding a few of those paychecks you meant to spend on things like food and your daughter's college.
But grossly irresponsible spending habits aside, it is unavoidable that we all conform to the competition year after year. The mission to outdo our friends, relatives, and the strangers we avoid whilst walking our dogs in the realm of Christmas decorations. So, for those of you willing to own up to this inevitability, we gift to you some of Hollywood's greatest examples of over-the-top, unreasonably expensive, not-even-remotely-worth-it items for your own winter wonderland.
Just Friends
In this 2005 romantic comedy, hotshot something-or-other Ryan Reynolds returns to his suburban Jersey hometown to reconnect with his old love Amy Smart, whose father (Barry Flatman) just happens to be diametrically obsessed with decorating his house for Christmas.
Animatronic Santa Claus: $838
Reindeer (3): $2,397 ($799 each)
Cypress trees (5): $2,675.80 ($535.16 each)
Decorative candy canes (6): $119.94 ($19.99 each)
Multicolored Christmas lights (thousands): At least $1,360 ($34 per set of 25 lights)
Grand total: $7,390.74
National Lampoon's Christmas Vacation
The holiday festivities of National Lampoon's Griswold clan sees lovable father Clark vying to give his family the greatest Christmas imaginable, complete with fancy decorations and promise of a swimming pool for the warmer part of the year (which, in Chicago, is that one weekend in July).
Life-size Santa Claus: $185.49
Reindeer (3): $2,397 ($799 each)
Multicolored Christmas lights (thousands): At least $1,360 ($34 per set of 25 lights)
Swimming pool: $23,424.79 (Granted this is not a Christmas decoration, but it's where Clark was allotting most of his income during the holiday season)
Grand total: $27,367.28
Christmas with the Kranks
I'm just going to cut to the chase on this one. Stars Tim Allen and Jamie Lee Curtis actually reveal in the movie that they spent $6,132 on their previous Christmas. So we're just going to go with that.
Grand total: $6,132
Home Alone
Of course, not all lavish cinematic Christmases involve the adornment of roofs and lawns with lights and trees. Some families, the McCallisters for instance, instead opt for exciting vacations... and an unparalleled home security system.
Flight from Chicago to Paris (2 adults, 3 children): $4,991
BOOBY TRAPS
Sharp Christmas ornaments (14): $41.65 ($5.95 per set of 2 ornaments)
Toy race cars (approximately 100): Approximately $51.03 ($5.67 per set of 12 cars)
Nail: $10.99 (for a good one!)
Bucket of paint/string (2): $123.70 ($61.60 per bucket of paint, $0.05 per 1/4" of rope)
Hedgeclippers: $29.98
BB Gun: $24.99
Die Hard
When you're trying to blow up a city on Christmas, you always need to keep in mind... actually, no. Let's not do this one. Merry Christmas, everybody.
[Photo Credit: Columbia Pictures; New Line Cinema; Warner Bros]
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Last night saw the debut of Deathstroke, and he really wields a stroke of death.
... wow, that was awful. If I promise not to make any more puns, will you stick with me?
You guys are the best! You know what also was the best? Last night’s Arrow. We left off last week with what seemed like the end of the road for our favorite hooded archer. Oliver Queen was arrested on suspicion of being the vigilante, and his arresting officer Det. Lance was as happy as a fat kid in a candy store. The police had video evidence of Oliver grabbing a duffel bag and the green hood in a stairwell of the building where Deadshot was firing his poisoned bullets. Now, I thought this was concrete evidence and Oliver was screwed. Little did I know that Oliver actually planned the entire thing!
Yup, he knew the security cameras were there, and he set the entire thing up. He wanted to be arrested so he can have an alibi for when another hooded archer – Diggle, who was thoroughly enjoying playing the part and playing with Oliver’s "billionaire vigilante toys" – took down an arms deal. Oliver knew it was only a matter of time before people put two and two together: that Arrow came to Starling City at the same time that Oliver reappeared. The writers are so smart! Diggle successfully pulled off the ruse, and Oliver was cleared of all charges.
But not before he succumbed to a polygraph in front of Det. Lance. Oliver was desperate to prove his innocence to the one person that wouldn’t give up on exposing that Oliver = Arrow. While a jury, judge, and society would accept Oliver’s cover story, Det. Lance would never be fooled. So: polygraph.
Turns out, the island was good for more than just archery lessons and rosetta stone-ing. Oliver also picked up the ability to lie so well he can fool a polygraph.
And another island reveal this week: the group of black ops guys we got a glimpse of turns out to be run by a man named Edward Fyers who wants to find Oliver’s mentor, Bearded Asian Arrow. I guess the island is big enough that Fyers and his men can’t find Bearded Asian Arrow out and about hunting for rabbits and marooned billionaires? Fyers wants him so badly that when Oliver lies (badly) and says he’s never seen him before, in comes seriously the scariest looking dude wielding a katana ever Deathstroke.
The reason behind all of Oliver’s scars becomes quite clear when Deathstroke starts torturing him. Bearded Asian Arrow saves Oliver and brings him back to their home cave, but not before Deathstroke does some serious damage. The takeaway we get from this: Oliver and Bearded Asian Arrow begin to form a bond after Oliver refused to give up Bearded Asian Arrow’s whereabouts. Now we can get to the training montages, right? Right?!? I'm not desperate.
Back in present day, during the polygraph test Oliver does give up one true secret to Det. Lance and Laurel: he was not alone on that island, and his not-so-friendly neighbors tortured him. This got us our weekly shirtless scene later on, when Oliver showed Laurel just how bad things really got for him. We also got our first Oliver/Laurel kiss, which was pretty great. Laurel pushed him away, but you know that's not going to last. Can’t wait to see this go further!
Laurel also noticed something wonky. During the polygraph test, Det. Lance asked if Oliver had ever been to a certain prison where Laurel was saved by Arrow last week. Oliver said no, but here’s the catch: Oliver and Laurel went to that same prison for an eighth grade field trip. Laurel looked over the polygraph results and was shocked that there wasn’t even a flutter when Oliver lied. When she confronted him later, actually suspecting him to be Arrow, he convinces her he’s not by pulling the “I’m too selfish to be a hero” card. I think it works, but we can’t be too sure. Only time will tell if Laurel believes him or starts to figure out his secret.
Also, Walter confronted Moira about the salvaged Queen’s Gambit he came across in last week’s episode, and she gave some vague warning about how it was too deep for him to get involved. He then left for Australia for “business” but really I spy a divorce in the future. Who woulda thunk that the guy with the British accent was actually the good guy? I had my money on him being evil in some way.
Follow Sydney on Twitter @SydneyBucksbaum
[Photo Credit: Jack Rowand/The CW]
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Wreck-It Ralph lives in an arcade and while that may be a longstanding fantasy for many of the children of the 80s the shine has more than worn off for Ralph. He resides in a videogame called Fix-It Felix and has been executing the same program for thirty years. Pursuant to the game’s 8-bit edict he must endeavor to destroy an apartment building as a quirky little do-gooder with a hammer tries to repair it. Ralph is a badguy but is he a bad guy? Feeling out of order he flees the world he knows to see if he can take his unfulfilling existence to the next level.
At a cursory glance Wreck-It Ralph may seem to offer nothing to anyone bereft of a passion for classic gaming. Truth be told there are ample references to games and gaming characters and not without a deep and knowledgeable affection. The jokes don’t come from the mere appearance of these characters but also videogame fundamentals actually permeate into the traits of the film’s original characters. In fact possibly the most thoughtful nod to gaming is the jerky movements of the characters within the Fix-it Felix cabinet superbly calling back to the limited range of motion afforded to 80s-era arcade fodder. It’s a balance of overt reference and the methods by which various gaming trademarks play into Wreck-It Ralph’s overarching universe.
And that universe is precisely what will draw in even those who have never held a controller. The landscapes through which Ralph travels are varied and gorgeous: from his modest but charming 8-bit home to the dark and foreboding nightmare of Hero’s Duty and finally to the garish wonderment of Sugar Rush. There are so many styles and applications of animation at work each dedicated to the conceptual scenery changes. You don’t need to know how to play Tapper or even that it ever existed as a real game to recognize that his almost stop-motion movements clash delightfully with the CG Ralph. And no Halo or Mario Kart knowledge required to understand the depth of detail in the worlds of Hero’s Duty and Sugar Rush respectively.
But like any hardcore gamer will attest great games cannot live by rich environments alone. The best games like the best movies are founded upon remarkable characters. Ralph may be a arcade videogame villain but his appeal is as broad as his building-leveling shoulders. He represents that need in all of us to rise above our station to challenge the notion that we are predestined to one occupation or personality set. Ralph is a guy who’s bad because he’s programmed to be but he is constantly looking at the life he wants--the life of a hero--from the other side of the glass literally in fact. It’s a sweetly relatable theme that finds its way into other characters like Ralphs pint-sized nemesis Vanellope. It is from this theme that the movie derives the majority of its heart.
The voice cast here is exceptional but that should come as no surprise considering the characters seem modeled after the personalities of the performers selected or at least modeled after the characters they tend to portray. Ralph brought to life by John C. Reilly is a perennial sad sack with an awkward sense of humor that is somehow endearing. Voiced by Sarah Silverman Vanellope is a shrill snarky troublemaker who manages to be adorable despite herself. Felix is a dopey but sincere yokel…voiced by 30 Rock’s Jack McBrayer. Jane Lynch voices the bossy domineering female soldier with the endless vocabulary of put-downs. Need we say more? That’s not to say this approach is lazy; far from it. It gives the characters a fleshed-out lived-in quality.
Wreck-It Ralph significantly narrows the gap between Disney and Pixar in terms of excellence. It still seems strange to think of Disney and Pixar as two separate bodies but the fact is that as soon as Pixar made the choice to stand alone their films have outshined Disney’s by a considerable margin. Wreck-It Ralph borrows liberally from the Pixar playbook evident right from the moment the central conceit is revealed to be the bestowing of sentience and personality to inanimate entities. And like Pixar Wreck-It Ralph is at its most enjoyable and most clever when the audience experiences the functional mechanics of how these characters exist in their own world the specificity of their imagined living space and its logistics. Yet this time Disney has dug deeper than the amiable outward trappings and arrived at what makes us love the films of Pixar and quality family entertainment in general.
If there is a complaint to be had with Wreck-It Ralph it is merely that it introduces a fascinating and thoroughly entertaining concept and then limits itself to but a few outlets for its expression. The movie spends so much time in Sugar Rush and while it’s beautiful and captivating we wonder what the other games would have had to offer. It’s akin to Monday morning filmmaking “I would’ve done this” or “I would’ve done that ” but it would have been the cherry on the sundae or perhaps more appropriately the various fruits in the maze to have been able to witness Ralph’s interaction with other games.
By the time we reach the kill screen Wreck-It Ralph has used something as geeky and esoteric as the world of arcade gaming to warp us to a place of emotional resonance and utter delight. Suffice to say it has plenty of replay value.

Arrow, you’ve done it again. Each week, I keep thinking you can't get any better. And then you go and prove me wrong. Thanks for that. I love being served a big ol’ slice of humble pie on a weekly basis.
No really, I do! Especially when it’s a slice of the Arrow-is-increasingly-awesome flavor of humble pie. It’s my favorite kind!
This week’s sweet treat is brought to you by Deadshot, a hit man who uses poison bullets (if the shot didn’t kill you, you’ll be done in later by the rare form of poison) and tats his beautiful bod abs torso with the names of his unfortunate victims. While Deadshot claimed that not only did he admire Arrow’s work, but they are also both in the same line of work – taking down the corrupt men running Starling City, Arrow was quick to cut him down: Arrow fights for justice, to clean up the city, and Deadshot was just a gun for hire.
Hired by, I should add, the Bratva, a.k.a. the Russian mob. An organization of which Oliver Queen/Arrow is a captain(!!!). The mystery of his tattoos and background deepens.
While Arrow eventually killed Deadshot in their final showdown (with an arrow through his goggle… ouch), he didn’t escape from the fray unscathed. The poison bullets Deadshot uses? Arrow found out that important little detail after suffering a gunshot to his shoulder. After doing some impressive self-surgery and getting the bullet out, Oliver felt woozy. And quickly understood he had been poisoned. He ran to his fancy secret mystery box and pulled out an herbal antidote. Thank goodness he had been shot and was able to figure the poison component out, because after following Oliver to the duel between Arrow and Deadshot, bodyguard Dig was hit with a stray bullet on the sidelines. Arrow got Dig back to Arrow HQ and gave him the antidote.
Dig regained consciousness in the final 30 seconds, long enough to get an eyeful of Oliver as Arrow, and Arrow as Oliver.
And there you have it, folks. The secret is out, and Arrow gets a sidekick (maybe? Hopefully?). Dig was already wising up to Oliver’s secret, after Oliver kept shaking the bodyguard’s shadowing so expertly, and his handy throwing of a kitchen knife from across the room with such precision. Dig was the only one in Oliver’s life who noticed there was something darker brewing underneath the façade of billionaire playboy. And now that he’s been clued in to the truth, there are a couple ways Dig can react. He can go into bodyguard mode and force Oliver to give up his dangerous vigilante ways (and therefore do his job by keeping Oliver out of dangerous situations). That would only make things harder for Arrow to sneak away and do his job cleaning up the streets of Starling City. He could force Oliver to tell his family what’s been going on in some therapeutic effort. Or –and this is what I really want to see – he could team up with Arrow and become a sidekick of sorts, lending his combat expertise to Arrow’s guerrilla tactics. It seems as if this is something Oliver wants as well, seeing as how he didn’t even attempt to hide his identity when Dig woke up. He could have disappeared, worn a mask or his hood, anything to keep up the charade. But he just sat in plainclothes, waiting to present himself to Dig. Maybe he has been craving someone to talk to, and share his new life with. He certainly seemed happy to show himself – his true self – to Dig.
There is nothing better than the episode in which someone finds out the truth about the protagonist. The big reveal: it’s what entire seasons, entire series lead to. And Arrow gave us the reveal in the third episode. Awesome. I can’t even imagine where this show will take us next.
Oh yeah, some other things not including Stephen Amell’s muscles happened, like Thea spilled the beans of Laurel and Tommy’s romance (that Oliver already knew about and Laurel deduced from Oliver’s lack of reaction), Thea was perpetually wasted and acted like a sullen rich teenager, Laurel was a badass and took down a guy three times her size, Arrow asked (demanded?) Det. Lance for police force backup and actually got it (yay teamwork!), and there was not only another archer on the island, but a whole group of black ops guys! Is this the Bratva? I seriously can’t wait for the episode that focuses on what really happened on the island, you guys.
And our eye-candy of the week: Arrow is too cool to lift weights, so he lifts 3 cement cinderblocks. At once. No big deal. I wasn’t drooling. Nope.
Follow Sydney on Twitter @SydneyBucksbaum
[Photo Credit: Jack Rowand/The CW]
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Title

Earned Best Supporting Actress Oscar nomination as the platinum-haired Debbie in "American Graffiti"

Reprised her signature role in the sequel "More American Graffiti"

Acted in "At Close Range"

Had prominent role in "Handle With Care/Citizen's Band"

Grew up in Texas

Off-Broadway debut, "A Coupla White Chicks Sitting Around Talking"

Played small role in "Radioland Murders", scripted by Willard Huyck from a story by George Lucas

Film acting debut, "Fat City"

Summary

Unusual, dynamic model-turned-actress who followed her film debut in John Huston's "Fat City" (1972) with a memorable, Oscar-nominated performance in George Lucas's seminal coming-of-age film, "American Graffiti" (1973). Clark's subsequent career, however, has not lived up to her fine work of the 1970s in such films as "The Man Who Fell to Earth" (1976) and "When You Coming Back, Red Ryder?" (1978) and her country turns in the TV films, "Amateur Night at the Dixie Bar and Grill" (1979) and "Rodeo Girl" (1980). She has appeared mostly in fairly obscure or routine genre fare, from "National Lampoon Goes to the Movies" (1982) to "Stephen King's Cat's Eye" (1985) and several appearances as mothers ("Radioland Murders" 1994, "Buffy the Vampire Slayer" 1992).